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Background
“Chauranga” deals with the caste menance in twenty first century India. It’s the oldest system of discrimination based on birth that has managed to survive in the country. “Chauranga” also brings to the fore the dichotomy of development that caters to the few while majority of Indian still carry the burden of poverty, inequality and discrimination on the basis of caste, religion and economic status. At the same time, “Chauranga” is also a heart-rending tale of a fourteen year old boy, his innocent love and his dream of a better life.

Awards Incredible India Award for the best Project at the Co-Production market , Film Bazaar 2011, Goa.

Logline : Will her dream of being written about by the love of her life be
fulfilled?

SYNOPSIS:
Right from childhood Manav wanted to tell stories and become a writer. For Mukta,
there is nothing more important than being the center of his attention that she
expresses as "write, a story about me". In childhood, annoyed by her
insistence upon telling a story about her, Manav comes up with a nonsensical
story that involves a tiger eating her up when she goes to a garden to fetch
a mango.
His dreams of becoming a writer and her family pressures come in the way of their
love for each other and she gets married and moves to Mumbai. After sometime,
they meet again as Manav comes to Mumbai to work as a columnist for a news portal.
As Manav begins to hope that the past mistakes will be amended and their lives
will once again entwine together, his childhood prank story begins to unfold
as a prophecy for her life.

CAST : SANJAY SURI,
SWARA BHASKAR,
ADITYANSH,
ISHITA,
VIPIN SHARMA

Director Bio:
Vasu Vangala is trained in acting, writing and directing in New York at the HB
Studios and the New York University. He worked as a director’s assistant
and cast member on ‘Beeper’, an Indo-US co-production starring Harvey
Keitel. His script, CARCIN was optioned by Harvey Keitel. He was also hired to
adapt the novel, ‘Keep off the Grass’ for LA based director/producer
Ben Rekhi.

Synopsis :
Driving back home from out of town, Akhil is in a euphoric mood. His happiness is due to the fact that he is alone and yet not feeling afraid. He is, after all, recovering from a condition that has crippled his life – monophobia or the fear of being alone. To test his recovery, Akhil turns his car into a forest and drives deep inside. And then, the car breaks down and Akhil finds himself lost in the wilderness. Initially he is calm and composed, but soon panic begins to set in. As he battles for survival and tries to find his way back to civilization, his fear subjects him to the most terrifying experience of his life. He soon realizes that his greatest threat is from himself...

Style :
In order to get into the mind of the protagonist and live his experience, Monophobia is presented strictly from the point-of-view of the protagonist, Akhil. Therefore, his face is not seen in the film. And because he is alone when this happens, no one else is seen either.

Director’s Note of Intent :
“Monophobia is my reaction to the neglect of storytelling in contemporary cinema. Filmmakers go to such desperate lengths for the moviegoer’s attention that one rarely gets to have a pure cinematic experience. Stars, big budgets and technology often smother the story and its cinematic potential.

Monophobia is my conscious attempt to traverse the opposite direction. There is a story, but no star – in fact the actor’s face is not seen in the film. There is no real budget to speak of; the film has been produced using basic, inexpensive equipment. (The shooting crew comprised of precisely 2 people – the director and the DoP!) Even in terms of the subject matter, I have consciously chosen to not explore a social issue, in order to allow the story and characters to engage with the viewer.

To get into the mind of the protagonist and live his experience, Monophobia is presented strictly from the point-of-view of the protagonist. Therefore, his face is not seen in the film. And because he is alone through the duration of the story, no one else is seen either. I realize that this may seem gimmicky, and I’m not sure how far I’ve succeeded in what could be called an experiment, but the idea was to try and connect with the viewer on the strength of the story alone.